These cards, designed by Jacob Ward have a heavy blind (inkless) letterpress impression on one side and black ink on the other. A blind hit needs a substantial amount of impression since it is relying only on the change in paper surface without any ink color to define the graphic. The large type size really pops on this card. If you have a good monitor and click through the pics below, you can see that even on a 220lb cotton stock there can be small amount of impression show through on the reverse side.
Tag Archive for 'type'
Page 2 of 4
The simplest looking things can be deceptively complex. This is a tricky little business card and a typographic poster for Squarespace New York. Designed by their Creative Director Tyler Thompson. The design shows restraint, making the logo treatment the hero. And the format is a square card of course.
So why is the business card tricky? It is custom duplexed stock, letterpress printed, laser die cut and edge colored. We custom duplexed Neenah Classic Crest Solar White 110lb Cover up to a 220lb thickness. Then we letterpress printed them several up on a press sheet. A larger press sheet means we can economize the laser cutting by doing more at a time. The laser cutting can leave some scorch marks, so the sheet is masked with a paper tape that peels off after the cutting is complete. Then the sheet is trimmed up into cards and edge colored in black. That 220lb thickness shows off the edge and has a nice smooth surface. The poster is on Crane Lettra 110lb Flo white, pressed in a single PMS blue.
This wonderfully typographic calendar is the work of Sonner, Vallée u. Partner in Munich, Germany. It is a true information architecture project, letterpress printed on thick cotton paper. Check out their online portfolio for some crisp and polished typographic excellence. We printed on Crane Lettra Pearl White 220lb (600gsm) cotton stock in two colors -with deep impression text you can’t help but touch. The sheet is a large 420 x 297 mm.
So often, what we do for our clients in the graphic design profession is disconnected from personal passions. This project managed to combine both food and design values. The food our family eats falls into a traditional foods diet, as recommended by the Weston Price Foundation. Which is why we were especially excited when Rebecca and Ross Williams asked us for business cards for their new adventure called Many Fold Farms. Their must-read blog is smartly written and shows a true passion for food and land. I’ve been learning about fine cheese and feeling a bit envious of their farming adventure.
This was both a design and print project for us, which is where our company can truly shine. Not that we don’t love printing the custom work of other designers and collaborating in the production process. We also love owning a design project from concept through production completion.
The design for the logotype merges custom 19th century inspired decorative capitals with slab serifs. We combined typographic texture with a folk inspired pierced tin borders and an inverted round corner die cut. The letterpress printing is on Crane Lettra Ecru (Ivory) 220lb Cover stock for a thick and soft feel in a nice warm color. We produced two different sizes – an oversized card with farm information and a smaller card with personal contact info.
Not that a heart felt email blast or animated web message for the holidays isn’t all well and good, but as you may have guessed we are suckers for a good old fashioned ink on paper. The next few days, we’ll show some previous custom holiday projects we’ve letterpress printed in the hopes of inspiring your own letterpress holiday projects. The holiday card seems to be one of those notorious last minute tasks for creative types. We are already heavily into estimating custom cards for many designers. And as much as we love rushing last minute projects, earlier is always better and leaves many more production options available. Word to the wise, ask us early for an estimate on your project.
Who says typographic characters don’t make delightful tree ornaments? This card was designed by Katie and Nate over at Eight Hour Day. The green combined with hot pink makes a unique holiday color combo. The card was die cut to produce two parts for a desktop Christmas tree, to be decorated further with objects on your desktop. It was letterpress printed on thick Fox River Blotter stock from Neenah Paper. Since the paper is produced without any surface sizing the blotter sheet has a more mottled appearance in how the textured surface accepts a large solid ink area like the green tree. This gives the printed piece some additional tactile quality. Fa la la la la, ooolala.
A strikingly simple business card designed by Blok Design out of Mexico City. Sweet type. We letterpress printed on some heavy 4 ply cotton museum board. Edged colored in a delicious yellow. A modern and materially elegant card indeed.
Designing your own wedding invitations has to be a designers most challenging project ever. And these are some to be proud of. The groom, Jefferson Perky of Perky Bros., designed these with an elegant typographic flair. They combine textural wood grain photography and letterpress printed type.
We produced these cards together on a 13 x 18 press sheet. The wedding invite was printed along with a save the date card, a thank you card, an accommodations card and a die cut vertical belly band. The stock was 100% cotton 110lbC Pearl White Crane Lettra. The wood grain was digitally printed, then the black type was letterpress printed.
When thinking about doing a letterpress wedding invitation it is important to consider all the cards you need upfront. We ultimately print everything together – saving us time and our clients cost. (Example – if you know you need a thank you card, plan to print it with the main invitation set.)
Not every wedding invite is so typographically unique as this one, with wedding birds too! Emily and Emory, the Bride and Groom designed these fun loving cards with display typography built from basic geometric forms overprinting each other. The warm color palette is three spot PMS colors which overlap and create additional letterpress texture. The cards are Crane Lettra Florecent White 110lbC 5 x 5 size – all printed together on a single large press sheet in tight register. They even included a little “eye spy” art print that turned out really sweet as well. The envelope is a metallic Stardream stock printed with silver metallic ink. Check out Emory’s site for even more illustrative work.
A bilingual wedding can be challenge. The bride needed invites in English and the groom needed Spanish. The simplest solution for this wedding in Mexico was both English and Spanish versions of the invitation. We designed and letterpress printed them with a textural yet refined style – a geometric border with a simple hand lettering for the couples names. The stock is Canalleto Grana Grossa 111lb Cover (20% cotton) and is printed in three match colors. The overprinting creates additional dimension and colors in the flower and vine motif. To integrate the invites closely with envelopes, we matched our ink colors to existing envelope colors from French Paper’s Poptone color line – orange fizz and limeade. Salud!
Erin Jang designed this custom wedding project for Marci and Ben with a unique combination of letterpress and digital printing. The typography here really has a beautiful touch – even with lots of different typefaces, the design is balanced and elegant. Not always an easy thing to do. We also like how the mini envelope on the invitation card creates another level suspense in opening the invitation.
We printed the letterpress portion of the project with 220lb Crane Lettra in an Ecru color and returned them to Erin for finishing. (They needed them quickly, and yes we are always doing some sort of rush custom letterpress work) These cards then had a unique small envelope afixed to them which contains the digitally printed red invitation. Also worth a produciton note is the perf that separates the map and the rsvp card into two parts. We used a fairly coarse perforating rule – about 20 tpi. (teeth per inch) A very thick stock needs enough paper left intact on the perf so it doesn’t just accidently fall off. It’s always worth having several kinds of perf rule around to test the stock and use the one that works best. The difference between a perf that just won’t tear clean and one that falls apart to easy can be tricky to balance. We keep rule around from around 18 tpi up to 100 tpi micro perf.
Check out Erin Jangs blog for more sweet design work. And if you want more, this invite has also been bloggity blogged on some of our favorite sites including Design Sponge, Black Eiffel and Mint Design Blog.
Last night we had a rockin’ time showing off our studio space and letterpress shop to Minnesota AIGA members. A big thanks to Minnesota’s AIGA chapter for giving us the opportunity. We talked about the relationship of letterpress and design, did some Q&A, drank some Pabst Blue Ribbon and wrapped up the event with a little coaster project on press. Take a look at the coaster sheet – it’s 60pt Ahlstrom blotter paper. We pre printed a couple colors before people arrived. Then, we had a different color set up on both of our Vandercook presses. Everyone got to pull a couple prints, then we die cut the sheet into the set of four coasters. Lots of paper touching and good times had by all. Thanks Kayd Mustonen for taking some pics to share.